Nick here, with 10 years of sound editorial – mixing and editing for film, TV, podcasts, audio books, and more. Please take a look around, and reach out with any inquiries!

I’ve held full time positions at Pomann Sound and DuArt Media Services in NYC working on audio for film and tv, as well as recording ADR and voice over with world-class and celebrity talent; delivering high-quality sound for a diverse clientele. I’ve sound designed and mixed five features, 30+ shorts, several reality shows, dozens of podcasts, two live theatrical productions, and hundreds of audio books.


sound design
foley recording / editing
sfx editing
ADR recording / editing
dialogue editing
mixing (stereo, 5.1)
music search / editing
original music production

Pro Tools Ultimate 2023
Dante Certified L1
QLab, live theater
Soundminer / Basehead
PSE Odyssey Library
and then some…

I love working with film makers and creatives of all types. I have an analytical ear as well as an imaginative one. I am always willing to learn and build my understandings of what is possible with sound and story. I take initiative to do so, and I advocate for sound’s importance and possibilities in all projects. Thanks for reading – and thanks for listening!


I’ve always been passionate about sound. At 22 I was working one of my earliest gigs, a short film drama with a horror-twist ending. I lived in New Jersey with my family, mixing in my bedroom. Finishing up the mix I was very excited. Tasked only as sound designer, I had essentially scored this movie with glorious, mostly subtle noise – as well as using a few beloved synths to support and at times replace room tone; manipulating low ends to justify the havoc on screen. This was on a tight deadline. The movie was going to be released on Vimeo at midnight on Halloween. High stakes. Then the power went out.

It was Hurricane Sandy. We wouldn’t have power for two weeks. In Sandy’s immediate aftermath I went to work, got on the phone, sourced a generator and a friend’s pickup truck. I plugged my computer into an extension cord fed through a second floor window and finished the movie. You know, the important things.

Like I said, I’ve always been passionate about sound. A burgeoning clarinetist in the 4th grade: 1st clarinet 2nd chair. I sat in that seat through concert and jazz bands until college where piano was my weapon of choice; piano because MIDI would be so much easier to input now. But I am not a musician. I am the man behind the curtain. I manipulate, examine, tinker, produce.

I started with DAWs at around age 14, the birth of my analytical ears, stretching out drum samples and decapitating their attacks, making loops of film clips and vinyl records because I was obsessed with the a-tonal and nearly a-rythmic vhs-like chopped-up one-drop found-footage music that RZA and others were creating. Yes, I wanted to be RZA on a 16 pad sampler punching dull snares and slowed bass lines into existence over 1940’s samurai film scores when I was 14 years old.